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It's been a little over two years since this movie hit the theaters, but I have to say, it took me until last month to finally get caught up in the "Frozen Fever" (ha) that has taken over the hearts of children everywhere.

The movie starts with two young sisters, Princess Elsa and Princess Anna, having a bit of late night fun with Elsa's ice powers. When an accident befalls Anna at Elsa's hand, the sisters are forced apart for Anna's safety and the gates to their castle are closed off to the public--until Elsa's coronation day. There's a huge ball in honor of her coming of age, and people from all over the kingdom come to celebrate. They day goes without incident until Anna and Elsa get into an argument over Anna's quick engagement to Prince Hans. Elsa's powers are revealed to everyone in an emotional outburst then and she flees the castle, unknowingly shrouding the land in a fierce winter behind her on her way to the North Mountain. Anna goes after Elsa and meets a gruff iceman named Kristoff, who she recruits to help her get to Elsa so they can bring Elsa back and bring back Summer.

All of the characters are interesting and multi-dimensional. Anna is a particularly great character in that she's unabashedly awkward and honest. I feel like most children feel awkward at some point in their lives and Anna is a great role model for them. My nieces and brother love the movie and it's family fun for all of us.

Disney's Frozen plays subtly upon assumptions, stimulating reconsideration of what obstacles there may be to true love--and even whether there oughtn't be a few for young people to start with after all ! It might do to bundle those aforementioned assumptions under the label "Pride And Prejudice-esque" : sister dynamics in one corner, brother dynamics in the other, no real parents in either, yet the imbroglios of Elizabeth and D'Arcy more attributable ( or at least attributed ) to the mutual miscomprehension of "classes" than to these lovers' personal, pre-romantic, familial histories. Comparable to Elizabeth Bennett in being the younger and less ostentatiously gifted of upper-class sisters, daughters of parents distant and then untimely deceased, is Frozen's Princess Anna. Anna falls in love almost instantly with the ( Spoiler alert ! ) cad-monster, Hans, far harder-driven even than Wicked Wickham by fraternal jealousy and legacy-lust. ( Cf. "With twelve older brothers..." ) In part to shed clarifying-contrastive light on both Anna's and Kristoff's backgrounds, Frozen has the ( adoptive ) family of Anna's real-true-love-to-be, Kristoff, be a clan of trolls very liable to overwhelm their mild nordic orphan-friends like a flash-mob Big Troll Wedding, a tidal wave of cheeky Family Wholeness that is everything unfamiliar to Anna at least. So might we wish to fall, en famille Grecque, upon Elizabeth Bennett, whisking her past pride and past prejudice to a perfect if premature Happy Ending. But Frozen implies that one should heal psychic faults at their pre-romantic, familial origins rather than, still ignorant of the sources of one's inclinations, seeking a panacea in romance however authentic.

The Trolls, Kristoff had warned Anna, are consummate "love experts"--but why then does Frozen have the stricken Anna faint rather than rally at the climax of The Trolls' big number about love ? Until then, under a shock-wedding gazebo, together with Hans before The Priest-Troll, Anna attends politely to their advice. As Anna's reserved looks and Kristoff's impatient expostulations meanwhile suggest, however, The Trolls' advice, if sound in itself, is nonethless directed to Hans and Anna in error. Anna is neither a snob nor a prude nor a slanderer's fool who needs prodding towards her "fixer-upper." Nor is she well-advised to be, as The Trolls imply she should, *less* critical. How perilously "spontaneous" Anna has already been in romantic matters ! And how ingeniously dark the parallel ironies of Anna's duet with Hans will prove to be : Hans has indeed been trawling for just such an "open [ reread : carelessly unlocked ] door" ! The Trolls are wrong furthermore to imagine that, Our Heroine rid of Hans and open to advances on Kristoff's part ( and to quote the French version ), "tout sera reglé !" The Trolls have been rushing Anna towards Kristoff, even just a kiss from whom will come only in the film's denouement, and ignoring her real and serious illness, which Kristoff can't help with yet. Finally, reflecting upon the rather odd fact that the "true love's kiss" they prescribed to Anna comes at last not from any man nor involves "true love" of the kind that phrase itself inevitably connotes, we should take The Trolls to task--and maybe ourselves--for conceiving Anna's challenge amidst a fog of assumptions--be they ethnic, "neo-Austenean," both, or something else.

Olaf, the hilarious snowman first brought to life by Elsa in childhood and, later, brought back to life by Elsa in the midst of renewing her stolen identity, leaves far less to be desired as sidekick-advisor than The Trolls. Recall that Elsa created Olaf at her little sister's ( at Anna's ) musical appeal : "Do you want to build a snowman ?" Insofar as Elsa thus created Olaf not only *for* Anna and at Anna's request yet hardly "with" her, Olaf is a proxy for older-to-younger sororal attention never directly forthcoming from Elsa. At the same time as he is a kind of ambassador of deflected sister-love, however, Olaf is--of course, but note it--a snow*man* or -boy at least. Olaf in fact provides gentle yet not-undemonstrative opposite-sex affection with his very first breath : "My name is Olaf, [ I'm a male snowman, by the way, ] and I like warm hugs !" Unsupervised at this juncture and momentarily uninhibited, Elsa does get carried away by her powers just as--let's give them their parental praise-due as well as criticism--The King and Queen of Arandel strove to prevent. Elsa accidentally injures Anna, The King and Queen are horrified, Elsa descends into an inner deep-freeze that isolates her above all from her sister, and Olaf disappears for over a decade. Correlatively, soon after he is *re*created on a mountainside by Elsa Revitalised, he meets with Anna searching for Elsa : "Did Elsa create you ?" "Yes." "Do you know where Elsa is ?" "Yes." He finds the hidden staircase to her castle for Anna and Kristoff and helps them get inside past another--but this one's Angry--snowman-proxy of Elsa's creation. It is he, not Kristoff, who rescues Anna at the brink of death by explaining love to her and by his readiness to "melt for her" in loving self-sacrifice. Though Olaf cannot himself be Anna's true love in the inevitable romantic sense of the phrase, he is the key to the meaning of Frozen in being thus the bridge ( sometimes almost comic-literally ! ) between Anna's and Elsa's hearts, between lost childhood memories and readiness for Adult Love. Minus a few pretty pointless physical danger spectacle-scenes and just a forgiveable touch of girl-power corniness, a beautiful, brilliant, and surprisingly reflective creation from Disney.

This is an excellent movie with great re-watch value. I really like the graphics in HD downloaded at best quality.

The first time I watched it, I was impressed with the graphics, but the plot and story didn't stick out as to me as much. However, my appreciation of those things improved quite a bit after watching the movie more than once. You can learn a lot from the show, I think. It seems to be about love (all the way through). I notice new stuff every time I watch it.

The music is awesome, of course.

Back when it came out (quite a while before I saw it), people always ranted and raved about Elsa and how awesome and beautiful she was, and didn't have a lot to say about Anna—but huh? Anna's awesome. She one of the funnest characters (and princesses) to ever have graced a movie, and she's no less beautiful than Elsa, even without the stylish blue dress and hairstyle. Her songs are no less profound than Elsa's, either, I think.

Anyway, here's some of the plot (spoiler alert):

Anna has magical powers over cold, ice, snow, etc. Anna wakes Elsa up and wants to play with her. They play. Elsa accidentally hurts Anna with her magic. They take Anna to some trolls to be healed. They heal her and warn Elsa about her powers. A troll heals Anna and removes all memories of magic from her brain. Elsa's parents decide to isolate Elsa to keep her and others safe until something or other happens, like she learns to control her powers (Elsa is in her room and won't play with Anna, or even come out and see her—for years). Their parents die in a shipwreck. Elsa is to become queen. On coronation day, Anna is really excited and goes out into the city, singing and stuff. Anna meets a prince from another kingdom; they seem to like each other. The coronation happens. Anna and Elsa are together for a bit, and they're happy. Anna and the aforementioned prince do some stuff together and become engaged (the same day they met). They ask Elsa for her blessing. Elsa is appalled and doesn't give her blessing. Some drama ensues, and Anna appropriates Elsa's glove while she's talking to her. Elsa wants it back (the gloves help to keep her powers under control). Elsa accidentally uses her powers and frightens and/or surprises everyone. Elsa runs away, and unknowingly causes a perpetual winter. Elsa sings Let It Go as she builds an ice castle and a snowman named Olaf (who comes to life) with her magic (and she replaces her black attire and her hairstyle with what she's known for). Anna goes after Elsa and wants to talk to her and convince her to fix things and come back. There's a conspiracy against the throne, and they try to use the incident against Elsa. Anna meets someone who sells ice for a living (and his reindeer) on her way to find Elsa; they help her. They find Olaf, and then Elsa. Anna talks with Elsa. Elsa accidentally uses her magic on Anna after they talk things out and Elsa still hasn't changed her mind, except this time it hits Anna's heart and can't be healed by the troll (only an act of true love can help her). … Well, there's more plot, but you can just watch the movie (I hope).

Anyway, it's an excellent movie, and I really recommend it. I recommend watching it multiple times.

I believe this is one of the best movies out there. Beyond what it says in the IMDB parents' guide (which shouldn't bother most people, even those with high standards), it's quite clean. Anna's coronation day dress (I think that was the one) could certainly be more modest, though.

This edition of the movie has lots of people singing Let It Go at the end, as well as a cartoon and some information about the creation of the movie, I believe.

On another note, Lexi Walker does an excellent rendition of Let It Go (you can look it up), which she did with the One Voice children's choir. I recommend looking at her other music, too. You can find it on the Amazon digital music store. She's a young artist (teenage, now).